The pop star pushes herself in surprising ways on her new album, to mixed but often moving results.
The legendary metal band is returning after a 13-year absence, and while its sound isn’t in, its disaffected embrace of spirituality is.
Atlantic writers look ahead at India’s moon landing, WeWork’s giant IPO filing, Taylor Swift’s Lover, and more.
Angry though a bit too orderly, The Center Won’t Hold can’t help but be heard in the context of the beloved punk trio becoming a duo.
The band’s folk-pop experiments sound like gorgeous, nonsensical conversations on the state of the world.
The singer for Silver Jews and Purple Mountains brilliantly described how restlessness can curdle into isolation.
The singer and poet of the band Silver Jews, dead at 52, made a career out of strange, beautiful insights.
Artists are shaping the gun-violence discourse, and the fascinating reaction to their political speech has demonstrated the specific reach they can have.
A new documentary explores the original organizers’ ingenuity and naïveté, revealing the exact reason the concert is unreproducible.
Once Upon a Time in Hollywood, the director’s ninth film, rates as his least bloody—and when mayhem erupts, it’s to draw a line between fiction and reality.
The Big Day, the artist’s latest album, doesn’t just describe his happily-ever-after life: It evangelizes it.
The rapper’s supporters see a story of racism. The president sees a story about immigration.
The Gift, a companion album for the rebooted Disney film, sees the superstar connecting to “something way bigger.” What is it?
The Netflix show all along portrayed the Fab Five as superhuman helpers, but in Season 4 it deepens their images.
The criminal case alleging the actor assaulted a busboy in 2016 has been dropped. But #MeToo is more than a reckoning taking place in court.
The strummer’s No. 6 Collaborations Project reveals the blend of sentimentality, humblebragging, and hip-hop swiping that has powered his success.
With a new version of “Higher Love,” the EDM star Kygo reworks a 1990 Whitney Houston vocal into a pool-party jam both of its time and out of it.
Federal indictments in Chicago and New York allege racketeering, witness tampering, and the illegal transportation of minors for sex—and the singer’s supposed crimes were not committed alone.
A graphic depiction of violence has served mostly to offend survivors of such violence.
The artist’s open letter about the sale of her former record label portrays a business matter as a story of bullying and virtue—and others involved have used similarly moralizing rhetoric.